Ikaw na babaeng sumasayaw sa dilim,
   Ikaw na nakakapit sa patalim:

Di ba nasusugat ang porselanang palad
    Na kasing lambot ng puwit ng sanggol?

Sa matalim na kutsilyong kinakapitan
      Ano mang oras hahatulan ng lipunan?

At sa higpit ng piring mo sa mata,
     Pasasaan pa't mabubulag ka na

Ikaw na babaeng gumigiling-giling,
   Iba't ibang laway ang pinanghihilamos gabi-gabi

Ang sugatan **** puso'y walang gamot
    Ngunit ang kandungan mo'y sagot

Sa mga problema ng mga lalakeng–
      Naghahanap ng panandaliang saya.

Ikaw ba, babaeng hubad,
   Naranasan mo na ba ang lumigaya?

Kumusta na ba ang anak mo sa una **** nobyo?
     Balita ko'y di ka na niya kilala.

Hindi ba't may tatlo ka pa sa probinsiya
   Na pinagkakasiya ang padala **** barya?

Naalala mo ba ang bilin sa 'yo
     Ni Karla na siyang una **** bugaw?

"Huwag **** bigyan ng puwang sa utak mo
      Ang sasabihin ng Inay mo.

Sasampalin ka niya, di ng palad niya,
     Kun'di sakit na dama ng isang Ina.

At iyon ang pinakamasakit
    Sa lahat ng puwedeng sumakit."

Ilang ulit mo na bang tinanong ang sarili
   Kung saan ka nagkamali?

Kung ilang liko ang ginawa
     Para mapunta sa hawlang 'sing dilim ng kuweba

Na pinamamahayan ng mga paniking
     Takot sa liwanag na magpapakita ng mga galos

Na bunga ng mga gabing kinukurot ang sarili,
     Tinatanong, hinihiling na sana'y bangungot lamang

Ang buhay nila sa dilim,
    Pasasaan pa't nasanay na rin.

Ikaw na isang mabahong lihim
   Ng mga mister na may misis na bungangera

Ha'mo na't sa iyo naman sila panatag
     Sa mga suso **** malusog, pinili nilang humimbing.

Ikaw na pantasiya ng karamihan,
   Ano ba ang pakiramdam ng pinagsasalsalan

Ng mga nagbibinatang hindi pa tuli,
      Ng mga lalakeng di kaya ang presiyo mo,

O ng matandang libog na libog sa mabango **** kepyas
      Ngunit nanghihiram ng lakas at tigas sa ******?

Saan ka na ba nakapuwesto ngayon?
    Sa Malate, Morayta, Quiapo, o Aurora?

Ilan na ba ang napuntahan mo?
  Ilan pa ba ang bibiyayaan mo ng iyong alindog?

Sa Makati Ave, Pasay, o sa Parañaque?
      Ha'mo na't langit pa rin naman ang dala mo

Kahit na alam ninyo ng Diyos
    Na nakaukit na ang pangalan mo sa impyerno.

Ikaw na babaeng walang pangalan,
   Ano ba ang itatawag ko sa 'yo?

Ilan na ba ang nahiram mo sa tabloid
  O sa mga artistang iniidolo mo?

Kathryn, Julia, Nadine, Meg, Yen, Anne
    Yna, Katya, Ara, Cristine, Kristine, Maui

Daria, Pepsi, RC, Susan, Gloria, Lorna, Aida, Fe
    Vilma, Sharon, Nora, Maricel, Dina

Ikaw na babaeng 'sing nipis ng balat ng sibuyas ang saplot
   Di ka ba nilalamig sa pag-iisa mo?

Ikaw na babaeng marumi,
  Sadsad na sa lupa ang lipad, saan ka pupunta?

Wala ka nang kawala sa dilim,
     Pasasaan pa't malalagutan ka rin ng hininga
        at  magpapasalamat sa biyaya.

Ikaw na babaeng bukod tangi,
   Ginawa **** lahat pero hindi naging patas ang mundo.

Lunukin mo na lang ang mga hibla ng pagsisisi
    Ipagdadasal kong huwag nang magdilim sa hawla mo.

I used to think that all of them were just bodies. She-figures, they came and went, facilitating infinite happiness and following with hellacious heartbreak, aorta explosions galore. They pass. I stay. She goes. I remain. We all take a trip, but she falls asleep while I follow the road, I sing the song, make the lyrics up as the 101 heads West, and I careen against the Pacific. I see silvery-white plumes of whale breaths spouting, they break the rocks of my rock and roll. When the levee breaks, we'll have no place to go- I'm going back to Chicago.

California. Line 5. Verse 1. She is born in Arkansas, in Denver, in New York City, in the back of a taxi cab, her parents waiting for a table at Earth Cafe, 1989. There are concerts, balconies, elevator shafts, and on benches. The gain rises, the volume up and up and up, I offer her a cigarette, I ask her if she likes my dress, I show up with two palms full of a flame, and I say hello. Browsing in high-definition, the water is warm, my feet are planted and I have everywhere to go. Classical emporium of light fill me with ease, greatness, and belief. She asks me if I'm gay. Every great confusion can be proven to be fortuitous with enough time on hand. I kiss in cars, in bathrooms, and barrooms, in hallways, on staircases, on beds, church steps, and legs. I touched a leg, ran my fingers through her hair, my thumbs curved to the height of two ears alongside a size B head. I love art *****. i burn candles, and I swirl the wax around until the walls wear masks of white. I check-in to a hotel. I stop to buy wild flowers on the side of the road, or to climb down a ravine, we open a page into an enormous patch of strawberries, wind-surfers, and the golden Palo Alto beaches. I am in Bronzeville, on my way to Bridgeport, I am riding the train, browsing magazines, and singing new songs in my head. My lips are wet with excitement and the musings of the Modern Art Museum and the gift of a first kiss; behind the statue on Balcony 2, near the drinking fountain, the Eames couch, and two lips meeting anew. Bravery in twos.

Chapter 1, Verse 2. The chorus is large and exciting. New plastic shining coats. Smocks patterned with the Random House children's stories that we played with as children. We didn't wear gloves, or hats, or pants, or our hearts on our sleeves. I was up to my knees in hormones and very persuasive. My fifth birthday was at the Nature Center, you chased me into the boys' bathroom and kissed me with your wet and four year old lips in the second stall from the door. I eased up maybe 2% since then. The speakers are a little bit fuzzy, it's like listening to the spit of someone's tongue cascade the roof of their mouth while they pronounce the British consonants of the 90s. Said and done and saving space.

I am saving up for Grace. A crush in the mid 2000s, black hair, long legs, and the only brunette for a decade before or after. We played doctor, with the electric scalpel we turned our noses red with Christmas time South American powders. A safe word for an enemy, the sun for an enemy too. You bolted out and took my early Jimi Hendrix Best Of compact disc case too. While we're at it, you took my Michael Jackson cassettes as well. I go mid-range, think Kiri Te Kanawa in the whispers of E.T.'s Elliot. Stuffed-animal closet party for seven minutes in heaven. Your family came with butlers while mine came with over-educated storage. A blue borage sky in the intestines of life, a splinter in the shanty-town of invincible daily struggles- both of us were born again in O'Hare Airport's Parking Level D. Too many nonsensical arguments in two-tone grayscale ripping open the packaging of a course about trysting in your twenties.

Your stomach's history is overpowering. It is temperamental, mettled by spirits and sleepless nights, borborygmus, wambles, and shades of nervousness you were never comfortable speaking openly about. The history of your ****** was privatized, in options and unedited films shot over and over candidly by a mini DV desk camera, nine months to read you wrong to weep in strong wintry walks back and forth from The Buckingham to the Dwight Lofts, Room 408 without a view. All of your secrets in a little miniature of a notebook, bright cerise red. You captured teardrops in medicinal jars meant for syringes. You tied strings to your fingers, named your field mouse Ginger, and introduced your mother as Lady Darling. Captain with stingray skin, the hide of Ferris Bueller with the coattails of James Bond, dusted with daisy pollen, and clearly weakness. You ate me like bitter herbs on Thursdays, and like every other woman I've ever met, on Tuesdays you always kept me waiting.

I have wings for everything. Yellow wings for a woman in a yellow dress, Red, White, and Green wings for Bernice from Mexico City, Purple wings for  Mrs. Doolittle the doctor who worked at Taco Bell, the Jamaican priestess who was traveling through Venice Italy- we smoked hash with the grandchild of James Joyce on the Northern pier against the aurulent statues of Apollo and Zeus, Cupids' collection of malevolent tricks, SleepingB Beauty's rebuttal in fending off GHB attackers, my two dear friends who were kidnapped in clothes, abandoned in the ****, and only remember eating chocolate donuts with sprinkles and the bruises and dirt on the insides of their thighs. Nothing clever. Nothing extraordinary. Everything sentimental, built to withstand soot, sourness, and early female bravado.

You know how to play the piano so you've said, but i only have the CD you gave me to prove it. I do have evidence of your addiction to men and *******. I have your collection of dresses with tags still on them (but every woman has some of those), there is the post office box in Kauai, the Halloween card from last November and the two videos I have stored on an external drive in a nightstand adjacent to the foot of my bed. You sleep atrociously, talk too quickly, and **** like your father abandoned you when you were five. Your talent for taking photographs is like your skill-set for playing the piano, but I don't have the CD to prove it. You don't believe in social media, social consistency, friendships, or hephalumps and woozels- with the exception of the classes we shared together in college, I've never seen you outside of the most glamorous of fashion. You hate flats, hats, and white wine, and for as sad as you can seem to be at times, I've only had you cry on me once. While we were on the phone, three days after your mother hung herself. That's when I last left California, and I haven't been back yet.

I love a Kristine, but once a Britni, a Brandi, a Joni, a Tina, Kristina, Kirsten, Kristen, and a Katherine and Kathryn too. I know rock stars who are my dearest friends, enemies who I share excellent taste in music with, and parents who've always had my back but show it in lashings of the tongue and of the belt. It's been two years and three states since I was two sizes smaller than I am now. I've never considered the possibility that I was the main character and not the supporting actor, but due to recent developments in antipathy and aesthete, reevaluation, and retrospective nostalgia. All of this is about to change.

I am me still evolving without my usually stolid and grim ****** features. i bare brevity to situations existing that would **** most or in the least paralyze a great many. There is one for every hour of every day, and one for every minute in every hour, second in every minute, and more than the minutes in every day. No one has a second chance, shares a different time, or works off a different clock. I have been called the master of the analog, king of the codependent, and rook to queenside knight. I share a parabola for every encounter, experience, and endeavor. I am three minutes from being a cadaver, one drink away from a drunk, and one thought away from being completely alone. I think upright, i sleep horizontally, and I love infinitely. I am the only finite constant i have ever known. I am the main character, the script, satire, sarcasm, and soundtrack are mine.

"I don’t care if you believe it. That’s the kind of house I live in. And I hope we never leave it.”
There's A Wocket In My Pocket by Dr. Seuss

Winter song. Fall passing.
And too with so many like this. When she is not there-

   Vibrations after the battle, footsteps breathing deeply into the cotton beds and privy the shrews of their slavery. Heavens' toll after me, brine and abalone shimmering.

Cast in a shadow of half-arched feet, slender narrowness shimmering crystals obfuscate the fury of the ringing;

Every evening when I wake she shakes her bell.

It ripples like food coloring droplets undulating in a dixie cup on the mantel of a kitchen sink. The elbows sprout out first, then the head stridently strikes upwards catapulting the arms and wrists to the sides, and then at last when all is deep ****** blue, the raw hairless legs unmask themselves and fold out into the edge of a postcard and the reddy, cerise snowflake stain brands the juicy signature of an incredible beautifully imprinted star. And still she is not there.

Into the white rooms the insects crawl, at last the cacophony of their bedeviled stridulations eeking as if from a broken and collapsed jaw. A necessary end to every inch of hoarfrost strung across their elliptical hoot-shaped jowls-

These are the marks that time encrusts upon disheveled and dilapidated Spline.

In dark matter there are Spline. In shifty daytime television sitcoms, Spline saw at our ears and cost us trillions of migraines each year. Three Splines sit on a log, another four on a fence. They race each other in elevators, make inappropriate gestures, make airplanes disappear into the Indian ocean, and steal the breath right out of our lungs. Spline cannot come any closer. Spline are the dreary minutia which separate friends, they are the sentence that never makes it off of our tongues, the anger we leave curled into our fists.

She is not here and the fevers are burning. The languages are deafening. It is almost impossible to believe words like these were ever spoken aloud. She is not here and the jeans don't fit, the dogs are shy, and the accidents keep happening. There is never a glimpse at perfect and hot happiness. There is nothing here but the spotty ash-pocked masked faces of the Moon Men, hurrying and scurrying.

She is not here and the sea is drying up. The war is in the street and in the streets the men are dying. Everywhere is dross and cataclysmic end-dust, desiccated hours and dandelion seeds.

Inside of the room the music plays softly. Glass's solo piano Metamorphosis Three and Satie's Gymnopedie. It has been only six hours since she left, but

When we see each other I am superman